On the performance of Beethoven's symphonies . ut of the question. Herethe violins and violas do not have to play the theme at alland yet in each of these parts / stands clearly the crotchet note points to a distinct intensificationof the tone. In spite of all this the / here has actuallybeen corrected to /, because it was thought th^t the Leit-motiv must have its right, even if Beethoven himself hadto give way before it. He seems to do so very unwillinglyhowever, as the underlined /, which the strings play in ahesitating, feeble way because they are afraid of not beingable to
On the performance of Beethoven's symphonies . ut of the question. Herethe violins and violas do not have to play the theme at alland yet in each of these parts / stands clearly the crotchet note points to a distinct intensificationof the tone. In spite of all this the / here has actuallybeen corrected to /, because it was thought th^t the Leit-motiv must have its right, even if Beethoven himself hadto give way before it. He seems to do so very unwillinglyhowever, as the underlined /, which the strings play in ahesitating, feeble way because they are afraid of not beingable to do justice to the ff immediately following, soundsso forlorn and meaningless, that this fact alone ought tohave been sufficient reason for inquiry as to Beethovensintention. When we look at the passage however from arhythmical point of view every doubt vanishes as to the need-lessness of this correction. If each two bars respectivelybe taken together as one throughout the whole movement,from the 31= bar of page 11 we get the following scheme:. m I g g^ip _fi ^f^r If i^^^^^^ Iff VP ^m 68 FIFTH SYMPHONY. m^ ^ -^mj-^-^^ni^^^-^^ni nrr^^pcirr^-zz^^rarf I /Ti ^ Se f\ We can see from this that the chords degraded to mise-rable piano-sigYis fall on rhythmically important points, ongood bars as it were. We see further that these rh3^hmi-cally important points are starting-points for passages intro-ducing the theme, and these passages in their turn prepareeffectually for the entry of the First Subject in its originalform (page 12, bars 23 and following), and the repetitionof the first part. We see finally that these castrated chordsas I will call them for want of a better expression, eachcoming directly after a softly-breathing/ia^^MJW^u, representsimply the concentration of energy preliminary to the theme,that they must therefere be played with the utmost energyand not lightly chirped for the sake of the with the featureless p then, and let both the chordsbe played with t
Size: 3159px × 791px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, bookidcu3192408884, bookyear1906
